We have not added any classical recordings to our “Great Albums” series, although that section of our shop has grown substantially since we moved into the new building – I don’t think a lot of record shops sell enough classical LPs to justify paying well for them, but we’re thrilled to say we do. We’re very picky about what we put in our classical section – Not just the condition of the record but also the quality of the recording and performance must be excellent.
Recently, I heard for the first time the Columbia Chamber Orchestra’s recording of Aaron Copland’s original score for Appalacian Spring – Copland himself conducted this recording for Columbia Records in 1974, introducing his thirteen-instrument arrangement as it was commissioned in 1944. In this form the piece has an intimacy and intensity that is lost in the expansive drama of the famous, familiar orchestral piece. I have always been attracted to Copland’s music out of admiration for his search for a truly American classical music, but never before so impressed by the nearness or reality of his accomplishment.
This record, although it has very quickly become one of my favorites, is not today’s addition to our “Great Albums” series – Instead I’ve chosen an album of Copland’s piano music.
Hearing this small arrangement of Appalachian Spring changed my perspective of Copland’s music, especially easing the guilt I’ve always felt as an admirer for the fact that I do not like his famous third symphony. Looking for more examples of Copland’s music in smaller formats, I came across this 1984 recording of pianist James Tocco performing transcriptions of Copland’s work.
Unfortunately, many people are uninterested in classical records simply because of the jackets, which often feature liver-spotted old men stroking their chins. This album, on the smaller Pro-Arte Digital label, doesn’t seem particularly aware of that problem. At least some labels discoverd this and featured old men waving small sticks on their jackets – Its still no competition for the Who record where they’ve just finished pissing on a giant concrete dick, but at least its an improvement.
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These two pieces are taken from Copland’s score to the film Our Town, based on Thornton Wilder’s famous play. The movie starred William Holden and Martha Scott and used props and sets, unlike traditional stage productions. Copland’s score is probably the most memorable thing about it. Our Town was not the only film for which Copland produced a score in 1939 (The other was Of Mice and Men). For a short while he was one of Hollywood’s most highly paid composers, but he did not produce many more. Ten years later he wrote his best film score, for The Red Pony. That piece has long outlived the film as a symphonic piece.
This last selection is from the piano transcription of Copland’s Rodeo ballet, which was premiered in 1942. “Hoe Down”, another piece from that ballet, has become one of American classical music’s most familiar pieces because of its various appearances in film and TV, especially is use in the “Beef – Its What’s for Dinner” campaign. Heard on the piano here is “Corral Nocturne” which I though was the best part of Tocco’s interpretation of the ballet.
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I would like very much to hear how the pianist would perform Copland’s other famous ballets. To my knowledge, although the composer wrote Appalachian Spring and Billy the Kid at the piano he did not publish them for solo piano. Its too bad so much of his later years was spent conducting increasingly large orchestra arrangements of his work, because one can hear his unique American style very clearly in smaller works.
